Monday, April 27, 2009

WEISKOPF AND WEISKOPF

Sorry to learn of the death of Kim Weiskopf, a contemporary of mine in the TV comedy writing world of the 70's-00's. In spite of the fact that in reality we were no doubt often competitors for the relatively few writing jobs in television, we were good friends - as good as it gets in show business. We never intermingled our families, that I can recall anyway, and never went to each others' homes. But we played softball together in a pick up game held every Sunday morning for a good 10 years (for me it was '86-96) or so. I think vestiges of it go on. David Braff ("Bay Watch") seemed to be a kind of ringleader, and there were also a lot of "halfs" of comedy writing teams - Weiskopf and myself included (our then-partners, Baser and Stein, didn't play ball). There was Larry Mintz, David Isaacs, Lorin Dreyfuss, Mel Damsky, among others who I don't recall off hand. When I first started playing with these guys, it was on the back field of an elementary school close to the parking lot of a supermarket off National Blvd. There were the usual superb players (of which I was not one) and incredibly competitive hot heads (not one of them either). I made a few good hits, and a couple of good catches, and a few bobbles. Your own teammates would call balls and strikes. I remember reluctantly acting as umpire, and called one of my mates out looking. He was furious. And never wanted to ump again. A strange system.
Anyway, back to Weiskopf. I cannot remember where I first encountered him, if on the ball field or in some network hallway. Weiskopf was half Japanese and I guess half Jewish. An interesting look. A good man, not boisterous at all. He couldn't have been more mismatched than with his partner for many years, Michael Baser, a long haired New Yorker, an avid talker. They surprisingly broke up - or perhaps not so surprisingly (neverthless "divorce" is always hard to hear about, or endure). They had already become a bit of an institution in the TV writing realm. Baser was the embittered spouse. Weiskopf went on to a decent solo career - I think he was eventually co-executive producer of Married, With Children. I am not sure how Baser fared on his own.
Things I remember about Kim was he was a family guy - I took my son Nick to his first in theatre film, a re-release of the classic Disney Peter Pan, and also in the theatre was Weiskopf and his son (or daughter; I don't remember). We had a similar encounter when I took my son to see the re-release of Star Wars several years later.
Kim was a legacy of sorts. His dad was the late, great Bob Weiskopf of Schiller & Weiskopf, who were staff writers on I Love Lucy. I have numerous memories of Bob as well. When I was producing Silver Spoons in the mid 80's, Weiskopf and Schiller had an office in our bungalow. They had a housekeeping deal with Norman Lear's company. They were great raconteurs, and we would sneak into their office after hours and admire their memorabelia. A few years before, when I was struggling through One Day at a Time, Lear held a huge company picnic. There was a softball game organized, and Bob Weiskopf, the ex-ballplayer, agreed to umpire. Well, he called ME out on strikes. I thought it was a bit high and outside, but what was I going to do, yell at this comedy legend? And his son was probably playing nearby.
So the unforgettable Weiskopfs belong to the ages. The Dad was quite elderly when he passed away, but Kim left us far too soon. He was probably in line for a piece of that ageism lawsuit settlement! It's one thing to see early icons of childhood disappearing - like Engineer Bill or even George Carlin. But when your old pals start falling, it makes the days a little more precious.

WELL THAT WAS AN INTERESTING COMA

I just woke up and somebody told me it was almost the end of April. I said, No way! It's January! Anyway, I'm back and immediately grabbed a newspaper, hoping I wouldn't see something heinous like "President Biden bombs Iran". Whew! All is well. Right wing freaks are bouncing off the walls, Obama is mellow so everything is just the way it's supposed to be.
No but seriously, I've been semi-busy, producing the Funny is Money radio show for www.shokusradio.com heard every night at 7 PM Pacific. So that means it's 10 PM in New York, and, what 4 AM in Paris? So no excuses! So far this year Tom (Kramer) and I have hosted the great director John Moffitt, the great writer Bruce Kirschbaum, the great comedy writer Jack Carrerow, the reclusive, yet great comedian Jack Burns and the great house guest, Kato Kaelin. Not to mention "Dead Gossip" from the great columnist Walter Winchell. Now that is FUNNY. Would that there was also MONEY attached. More later.

Monday, August 25, 2008

BOBBY'S TIP JAR for August 25, 2008: COMING THROUGH THE BACK DOOR

No, this is not a treatise on buglary tips. It is about the number one question of all writers: how do I get my material to the decision makers, or, hey, ANYBODY.

Of course glib answer #1 is, get an agent. But that’s about as difficult as getting a meeting with Quentin Tarantino or David E. Kelly and pitching your stuff.

So while knocking on the front door, be mindful of the backdoor. That backdoor isn’t easy either. And by the way, there’s nothing easy about anything. Ask Michael Phelps.

But the backdoor. What the heck is the backdoor anyway? Of course it is the gateway of least resistance to the road leading to where you want to get to. That may be ironically lousy writing, but it’s sort of funny so I’m leaving it the way it is.

Backdoor routes are “entry level jobs”, such as production assistant, writers assistant (you’ve got to learn how to use the computer word processing programs for this!), a page, a receptionist. This literally gets you in A door, where you are apt to meet those moves and shakers you seek.

And meanwhile, of course, you are writing, right? Writing your spec script, honing your skills, keeping your eyes and ears open as you are on the job, reading the scripts of others, and all that... so that when the opportunity arises, i.e., to present your script, you are ready.

There are other backdoors, such as writing for a theatre group – or indeed enrolling in a theatre group, such as The Groundlings – and scanning Dramalogue, Craigs List and other sources of jobs that may provide you with some writing experience, and have your material performed.

And then there’s the Internet. You can certainly network on comedy sites, get a video camera and shoot your own work on video, and get exposure in that fashion. Exposure is the key word here.

And meanwhile, you might just stumble upon an agent, or Quentin at a coffee shop (I don’t exactly recommend it) or some other function, and get your material exposed in that way.

But if the front door is locked, or nobody is answering, look for a back door. Or an open window It’s sort of like buglary.

Friday, August 15, 2008

TODAY'S WRITERS PROMPT FOR 8/15/08: JULIA CHILD WAS A SPY


You read a headline like this, and the joke is already written for you. And if you don’t know who Julia Child was, look her up via Google or Wikipedia. She passed away a few years ago, at I think age 90 or so. In fact, she would have been 96 today, August 15th. For years she was on PBS as “The French Chef”, a high pitched matronly woman who loved to use a lot of butter and salt in her dishes. I don’t think she was French at all, but now, with the news that she was a spy during World War II, that adds to her mystique.

Of course for starters she was about as far from James Bond as one can get, so that perhaps made her perfect as a spy... who the heck would give her any thought at a border crossing, for example. (Now that I think about it, she would have been perfect “mule” material, too!). And no doubt she could get any information out of any nefarious character because she was so un-assuming Miss Marple like... probably even when she was in her 30’s in the 1940’s, when she did her espionage work. I didn’t read the whole story (which should be in a Bobby’s Tip Jar entry – read everything!). I also imagine her giving codes out while preparing her esoteric dishes on the TV. If she touches the Herb de Provence twice, that means the “neutralization” is on.


Before her secret spy life was revealed, Dan Aykroyd did the quintessential Julia Child send up probably 30 years ago on SNL – remember the bit (again, if you were born after 1978, LOOK IT UP… maybe it’s on YouTube now) wherein Julia cut herself, and just spewed “blood” all over the set. It just got funnier and funnier as he went on and on with the preparation.


Listen to the Funny is Money radio program, nightly at 7 PM (Pacific) on
http://www.shokusradio.com/ This week’s guest: Bob “Super Dave” Einstein, talking about the early days as head writer of the Smothers Brothers Show (wherein he also appeared as “Officer Judy”), and his other adventures before Super Dave made him really famous.

Wednesday, August 6, 2008

BOBBY'S TIP JAR for August 6, 2008


THE RULE OF 3 and other Factors


Since this is Hiroshima Day, I figured it's a good day to discuss how to prevent COMEDY BOMBS. As with 1945 dropping of Big Boy (although it's debatable, but not amongst Hiroshima residents at the time) the term "bomb" in comedy is not a good thing.

As with everything in life, comedy has certain rules. People talk about breaking "rules of comedy", whether it be Norman Lear or James L. Brooks, or Gary Marshall, but some rules even they never broke. Norman worked completely out of the box, adding flat out tear jerking drama to his sit coms, such as All in the Family. But then he'd add a treacle cutter. That of course is a joke or look or some other laugh provoking gambit to relieve us of the drama.

Speaking of the term treacle cutter, in professional comedy writing there's key terminology that is pretty well circulated amongst writers which describe these "rules" for better comedy writing and story advancement. Here are a few more:

The Ax Sometimes a sequence of dialogue is necessary to the story, but it's way to dry or flat to just have two people talking, so sometimes we will say, "this scene needs an ax". That means, something else, often a bit amusing, going on that doesn't distract from the dialogue, but at least makes the scene interesting. i.e., you put the people in a steambath instead of a living room, so at least the folks are sitting in towels, mopping their brows and so forth. On Silver Spoons, we put the dad, Edward (Joel Higgins), in a suit of armor while having an otherwise innocuous story-advancing bit of dialogue with either Ricky (Ricky Schroder) or Kate (Erin Grey). I'm not sure where the term "ax" came from, but probably using an ax was the first "ax".

The Bend On the same principle as the "ax", the "bend" is utilized to prevent stultifying dialogue from boring audiences. If the dialogue is too flat (i.e., boring), then we will say "this line needs a bend". Sometimes it's adjusting the line or bit of dialgoue to say it funnier. It might be as simple as changing grandma's line from "he was driving a blue Olds" to "he was driving a bomb-ass blue Olds". You get the same info out, but with a character "bend" - and a laugh. This is not to say every single line has to be a joke, or require an ax, or both (like putting everybody in a clwon suit) - then that would be tinseling, i.e., going overboard as one might add to much decoration to a Christmas tree.

The Rule of Three
This is one of the fundamentals of joke structure. The Honeymooners original 39 episodes is a comedy clinic for almost all comedy rules, valid some 53 years later.

Ralph
(pointing to his wallet) I got it all right here!

Alice
(touching her butt) You got it here, (touching her sides) you got it here
(holding her arms out in front of her as if she has a big belly) and you got it here!"

Big laugh. If she had gone on to a fourth bit, it wouldn't have been funny. She would have gone past the joke. That's another comedy writing phrase, a "don't rule". Here is another classic example, from Some Like it Hot (on the must-see list!)

INT. MOTOR BOAT - DAY

Joe E. Brown is driving. Jack Lemmon, in drag, sits next to him. Brown has proposed to Lemmon, thinking he's a woman, and Lemmon is trying to get out of it.

LEMMON
I smoke!

BROWN
I don't mind.

LEMMON
I can never have children.

BROWN
We can adopt some.

LEMMON
(taking off his wig) Ah, Osgood. I'm a man!

BROWN
Well, nobody's perfect.


Lemmon reacts.

Why does the "rule of 3" always work? Why not the "rule of 5", or the "rule of 2"? Who knows comedy is all about TIMING. Here is a good illustration of the rule of 3 and comedy timing... Note: the term beat in the example below means a PAUSE.

Guy #1
This girl, is she cute?

Guy#2
She has a great job!

Guy #1
Yeah, but is she cute?

Guy #2
She drives a brand new BMW.

Guy #1
Is she cute?

There is a beat.
Guy #2
Did I mention the BMW?
See what I did? I have more than three e-mail addresses, but listing any more wouldn't be funny.